One Song

The Black Crowes Remedy

October 30, 2025

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  • The Black Crowes' "Remedy" succeeded by offering an organic, bluesy antidote to the processed, visually-driven rock trends of the early 1990s, despite Diallo's initial resistance to the Southern Rock genre. 
  • The band's authenticity was reinforced by the visible inclusion of Black female background vocalists (Barbara Mitchell and Taj Artis) in the music video, which helped bridge cultural gaps for listeners like Diallo. 
  • The song's unique sound stems from a deliberate marriage of influences, specifically the punk attitude and LA hardcore scene combined with 70s British blues rock, a connection solidified by producer George Tregulius who helped Chris Robinson embrace his Southern musical roots. 
  • Musical evolution demonstrates that no single artist or band owns a sound or genre, as unique storytelling and personal contributions transform existing influences into something new, a theme central to the discussions on *One Song*. 
  • The legacy of The Black Crowes, particularly with the song discussed in *The Black Crowes' "Remedy"*, lies in their successful 'perfect concoction' of Southern spirit into an accessible alternative rock album in the early 1990s. 
  • The 'shoegaze' genre, characterized by guitar wash, heavy effects, and often non-charismatic stage presence, was largely a journalist-created term, with foundational influence from Robin Guthrie of Cocteau Twins and exemplified by essential albums like My Bloody Valentine's *Loveless* and Lush's *Spooky*. 

Segments

Live Show Announcement
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(00:00:00)
  • Key Takeaway: One Song will tape a live episode at On Air Fest on Wednesday, November 12th at KCRW in Santa Monica.
  • Summary: The hosts announced plans to tape a live episode of the podcast at On Air Fest. This event is scheduled for Wednesday, November 12th, taking place at KCRW in Santa Monica. Fans are encouraged to visit onairpresents.com or check the show bios for more information.
Initial Reaction to “Remedy”
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(00:00:25)
  • Key Takeaway: “Remedy” by The Black Crows was a 1992 anomaly that stood out against contemporary trends, ruling the Billboard rock charts for 11 straight weeks.
  • Summary: The hosts immediately referenced the song “Remedy” and expressed admiration for the Robinson brothers. Diallo noted the song almost made him accept Southern Rock, which he usually resists due to negative regional associations like the Confederate flag legacy of bands like Lynyrd Skynyrd.
Hosts Introduction and Show Premise
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(00:02:07)
  • Key Takeaway: The show ‘One Song’ breaks down the seminal stories behind iconic songs across genres to explain why they deserve one more listen.
  • Summary: Diallo Riddle and LUXXURY introduced themselves and the premise of the podcast, which is to analyze iconic songs across genres. They emphasize that listeners will hear these songs in a new light. The show is also available for viewing on YouTube and Spotify.
Diallo’s Southern Rock Hurdle
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(00:02:35)
  • Key Takeaway: Diallo’s upbringing in the South created a complicated relationship with the musical legacy of the region, often associating the ‘Southern’ adjective with negative imagery.
  • Summary: Diallo explained that growing up in Atlanta meant seeing Confederate flags displayed during Lynyrd Skynyrd concerts, creating a hurdle for him regarding Southern Rock. He contrasted this with the irony that much of Southern musical legacy is rooted in Black music, gospel, and blues.
Organic Sound vs. Processed Music
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(00:03:52)
  • Key Takeaway: The Black Crows’ music, particularly “Remedy,” was perceived as an ‘organic’ and ‘authentic’ meal compared to the ‘processed food’ sound of MTV’s contemporary hair metal.
  • Summary: The organic quality of the music was attributed to hearing the instruments played loosely, like a band jamming on stage, including an upright piano. This contrasted sharply with the highly visual and potentially ‘fake sounding’ glam rock prevalent at the time.
Early 90s Retro Influence
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(00:04:41)
  • Key Takeaway: The early 90s saw a rise in 70s retro aesthetics, exemplified by Lenny Kravitz and The Black Crows, following cultural touchstones like Oliver Stone’s film The Doors.
  • Summary: The appearance of 70s retro style in the early 90s was noted, with Lenny Kravitz being an early proponent. The Black Crows followed this trend with their debut album Shake Your Moneymaker, which included a cover of Otis Redding’s “Hard to Handle.”
Impact of “Hard to Handle” Structure
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(00:05:35)
  • Key Takeaway: The structural element in “Hard to Handle” where the music drops out, leaving only the singer for several bars before the drums re-enter, is a powerful technique comparable to Jay-Z’s “Allow Me to Reintroduce Myself.”
  • Summary: The dynamic shift in “Hard to Handle,” specifically the moment where the music drops out leaving only the vocals before the drums return strongly, was highlighted as a highly effective musical device. This technique successfully captures and holds the listener’s attention through tension and release.
Rick Rubin’s Initial Lack of Faith
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(00:06:16)
  • Key Takeaway: Producer Rick Rubin initially had so little faith in The Black Crows’ debut album that he did not put his name on the first pressing until it sold half a million copies.
  • Summary: Despite the debut album’s success, the label reportedly did not hear any hits on the second album, echoing the initial skepticism surrounding the first record. Rubin later credited himself after the debut achieved significant sales milestones.
Visual Signifiers and Authenticity
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(00:06:53)
  • Key Takeaway: The visual presentation of The Black Crows, including the contemporary look of their background singers, signaled an authentic connection to Black music culture, contrasting with the manufactured retro look of some contemporaries.
  • Summary: Diallo found the band approachable because they seemed like ‘cool white guys’ associated with Atlanta’s integrated cultural areas like Five Points. The background singers, Barbara Mitchell and Taj Artis, looked like real people from 1991, avoiding the ‘whitewashing’ trend of using stand-in singers.
Punk Attitude Influence
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(00:15:28)
  • Key Takeaway: A strong, often overlooked influence on Chris Robinson’s musical personality was the attitude and lyricism of the LA hardcore and punk scene, including bands like The Gun Club and The Cramps.
  • Summary: The hosts separated musical content from personality, noting that Chris Robinson cited LA punk as a major influence, which explains the raw attitude in the music. This bluesy strain of LA punk, distinct from other punk subgenres, merged with the 70s British blues sound to define The Black Crows.
The Role of George Tregulius
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(00:19:22)
  • Key Takeaway: Producer George Tregulius, known from the Beastie Boys’ ‘B-Boy Bouillabaisse,’ was the A&R who discovered and signed The Black Crows to Def American Records, helping Chris Robinson unlock his bluesy vocal style.
  • Summary: Tregulius is credited with bringing out the Southern musical influences already present in Chris Robinson, encouraging him to sing in the bluesy style he was known for. This was a key factor in shaping the sound of the second album, The Southern Harmony and Musical Companion.
Faces Influence on Vocals
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(00:21:26)
  • Key Takeaway: George Tregulius played Faces’ 1971 track “Miss Judy’s Farm” for Chris Robinson, suggesting a vocal parallel between Rod Stewart’s performance and Robinson’s developing style.
  • Summary: The song selection highlights the influence of early 70s rock on the band’s vocal delivery. The hosts noted that while Rod Stewart later shifted to standards, his work with The Faces, particularly on this track, provided a blueprint for Robinson’s powerful delivery.
Rick Rubin’s Naming Suggestions
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(00:22:29)
  • Key Takeaway: Rick Rubin initially wanted The Black Crows (originally Mr. Crow’s Garden) to change their name to the highly controversial ‘Cobb County Crows’ spelled with three Ks (K-K-K).
  • Summary: The band wisely rejected Rubin’s suggestion, which would have been highly problematic given the racial connotations. Diallo admitted that even the final name, ‘The Black Crows,’ felt slightly suspect initially, but the band’s coolness helped them overcome that.
Touring and Tightening Musicianship
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(00:25:05)
  • Key Takeaway: The Black Crows toured extensively (350 shows in 18 months) after their debut to tighten their musicianship, acknowledging they were not as skilled as their musical vision initially suggested.
  • Summary: Chris Robinson admitted that the band needed live experience to match their recorded sound, leading to rigorous road testing of material for their second album. This approach contrasted with the multi-year album cycles of bands like Def Leppard.
Drumming Style: Human vs. Electronic
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(00:30:44)
  • Key Takeaway: Rock music sounds superior when drums are played by a human, as the natural BPM fluctuation and lack of quantization provide a necessary feeling that electronic drums often lack.
  • Summary: Steve Gorman’s drumming on “Remedy” was praised for its dry, powerful sound, contrasting with the precise, ‘pro-tooled’ nature of modern rock drums. The hosts noted a slight BPM fluctuation throughout the song, indicating a real-time, human performance.
Rhythmic Ambiguity and Silence
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(00:32:04)
  • Key Takeaway: The rhythm section of “Remedy” intentionally weaponizes silence by omitting the kick drum on the downbeat (the ‘one’), creating a vague and floating rhythmic sensation.
  • Summary: The hosts struggled to definitively count the song’s time signature, realizing the lack of a kick drum on the one creates a one-drop effect reminiscent of reggae. This deliberate omission enhances the power of the sounds that precede and follow the breaks.
Guitar Interplay and Tuning
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(00:38:39)
  • Key Takeaway: Rich Robinson utilized Open G tuning for his rhythm parts, allowing for easy chord shapes and slide guitar work, while new guitarist Mark Ford played in standard tuning, providing a more accomplished, Slash-like counterpoint.
  • Summary: The interplay between Rich Robinson and Mark Ford mirrored the dynamic of bands like The Rolling Stones. Ford was brought in to elevate the musicianship, and he reportedly turned down an offer from Guns N’ Roses to take a more prominent role in The Black Crows.
Piano: The Wurlitzer’s Role
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(00:45:24)
  • Key Takeaway: Keyboardist Eddie Harsh plays a Wurlitzer electric piano on “Remedy,” an instrument often associated with Supertramp’s “The Logical Song,” but here used to deliver a distinct, hard-edged boogie-woogie sound.
  • Summary: The Wurlitzer provided a sound less watery than a Rhodes, adding a crucial boogie element to the track’s foundation. This keyboard work connects The Black Crows to the tradition of uncredited but essential keyboardists in bands like The Rolling Stones (Ian Stewart) and The Beatles (Billy Preston).
Vocal Dynamics and Collaboration
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(00:48:04)
  • Key Takeaway: Chris Robinson’s vocal arrangement on the chorus, where he sings backup to Barbara Mitchell and Taj Artis, demonstrates a collaborative spirit contrasting with potentially problematic lyrical themes in other rock songs of the era.
  • Summary: The structure of the chorus, featuring the background singers at the forefront, was seen as a positive sign of respect and collaboration, unlike the perceived appropriation in songs like The Rolling Stones’ “Brown Sugar.” This dynamic made the song connect with listeners like Diallo.
Songwriting Splits and Legacy
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(00:51:13)
  • Key Takeaway: The Robinson brothers maintain an even 50-50 split on songwriting credits, reflecting a collaborative dynamic that, despite studio friction, avoided the severe internal conflicts seen in other famous sibling bands.
  • Summary: The legacy of The Black Crows is defined by their ability to transform inherited sounds (like blues and 70s rock) through their unique storytelling and personal experiences. This transformation proves that musical ideas are constantly evolving, regardless of their historical precedence.
Legacy of Musical Influence
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(00:52:28)
  • Key Takeaway: Unique storytelling and personal contributions transform inherited musical sounds into transformative art.
  • Summary: What artists change from their influences—their unique story, lyrics, and personal input—is what makes their work transformative. Nobody owns a sound or genre, as these elements are constantly evolving and in flux. Even foundational artists like The Stones and Led Zeppelin built upon prior work, tracing back to figures like Robert Johnson.
The Black Crowes’ Southern Spirit
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(00:53:42)
  • Key Takeaway: The Black Crowes achieved a difficult feat by creating a welcoming, all-encompassing Southern musical culture in 1991/1992.
  • Summary: The legacy of The Black Crowes is rooted in their ability to synthesize Southern elements into a fantastic indie/alternative rock album. Their decision to feature Barbara and Taj’s vocals on the chorus was highly effective. The musicianship across the band was polished yet retained an organic feel, blending diverse cultures into one great song.
Introducing the One Genre Segment
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(00:55:06)
  • Key Takeaway: The podcast introduces the ‘One Genre’ segment, focusing on subgenres and essential listening records.
  • Summary: The hosts launch a new segment called ‘One Genre’ where they break down a subgenre and recommend an essential record. The first genre explored is shoegaze, pronounced ‘shoe gaze’ or ‘shoegaze.’ This segment aims to educate listeners on specific musical categories beyond the main song discussion.
Defining Shoegaze Genre
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(00:55:15)
  • Key Takeaway: Shoegaze is a journalist-created genre from the late 80s/early 90s UK, defined by guitar wash, heavy effects, and musicians looking down at their pedals.
  • Summary: The name ‘shoegaze’ originated from the visual of musicians looking down at their numerous guitar pedals and hair on stage. Key bands defining the genre include My Bloody Valentine, Slowdive, Lush, Curve, and Ride, primarily active in Britain during the late 1980s and early 1990s. Sonically, the sound is dominated by guitar effects, often influenced by Robin Guthrie of Cocteau Twins, with minimal use of keyboards.
My Bloody Valentine Deep Dive
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(00:57:52)
  • Key Takeaway: Kevin Shields of My Bloody Valentine innovated guitar sounds that Brian Eno famously described as ’the future,’ exemplified by the album Loveless.
  • Summary: My Bloody Valentine is considered one of the greatest bands, with their first full-length album being Isn’t Anything, though Loveless is the definitive classic. Kevin Shields innovated guitar textures that sound like a ‘wash of sound,’ evoking water and the future, rather than traditional guitars. Brian Eno praised their sound, recognizing its cinematic and forward-thinking quality.
Lush’s Shoegaze Selection
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(00:59:13)
  • Key Takeaway: Lush’s 1992 album Spooky, produced by Robin Guthrie, offers a more song-oriented, shimmery shoegaze experience compared to Slowdive’s jam-like quality.
  • Summary: Lush’s album Spooky is described as washing over the listener and sounding ‘shimmery,’ contrasting with Slowdive, which is likened to a jam band for those who dislike the genre. Spooky was produced by Robin Guthrie, making it sound like Cocteau Twins operating as a rock band with more intelligible lyrics. The genre’s influence persisted, evidenced by shoegaze qualities found later in bands like Deftones.
Genre Longevity and Out-of-Print Records
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(01:00:40)
  • Key Takeaway: Shoegaze did not immediately vanish with the rise of Britpop; its influence continued, and records from the era often become hard-to-find collector’s items on platforms like Discogs.
  • Summary: The genre transitioned as newer British groups chased the sound of Britpop, moving away from shoegaze aesthetics. The sonic ideas, however, continued, seen in bands like the Deftones a decade later. Listeners seeking these records, such as Lush’s compilation Gala, often rely on Discogs due to many original pressings being out of print.
Podcast Sign-Off and Credits
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(01:02:26)
  • Key Takeaway: Listeners are encouraged to support the show by subscribing, reviewing, and checking out the linked Spotify playlist for all discussed songs.
  • Summary: The hosts direct listeners to the One Song Spotify playlist linked in the episode notes for all discussed music. They ask the ‘One Song Nation’ to like, subscribe, and leave five-star reviews to support the show. The segment concludes with the hosts identifying themselves and listing the production team credits.